L’utilisation d’images d’archives dans des films documentaires : l’exemple desexhibitions humaines: l’exemple des exhibitions humaines
- Autores: Anaïs Clerc-Bedouet
- Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 593-601
- Idioma: francés
- Texto completo no disponible (Saber más ...)
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Resumen
Within the framework of my Ph.D., I work as a researcher and production assistant within the Film Company “LesBâtisseurs d’Images”, run by Pascal Blanchard who is also the curator of the current exhibition “human zoos” atthe Quai Branly Museum in Paris. I follow the production process of a new documentary film project about humanexhibits using archival film footage.I established a corpus of thirteen documentary films about human exhibits using archival footage, which I willcompare in order to analyse how archival images can be integrated in the editing and the narration of the film. Howdo directors manipulate archival footage in order to serve their message?We notice in fact that each film director has his own way to bring archival footage to talk:- Some directors illustrate their films with archival footage which do not have anything to do with their context.Others, at the opposite, refuse to fill visual lacks with decontextualised pictures.- Some directors show the pictures as they are, without any subterfuge; others colourise the animated archives orcrop the photographs.- Some directors comment the images off screen, others use the voices of witnesses and others the voices ofspecialists.This analyse aims to an open reflection on the different ethics around the integration of archival footage in films. Howsacred are archival images and which are the limits of their manipulation?
